#dc space

Photo © by Bert Queiroz

This is the fourth out of six concerts Fugazi played at the dc space. And as it happens, it is a benefit for Buck, the venue bartender.

By way of introduction, Ian comes down on the D.C. metro service for not running a 24-hour system. KYEO, appropriately dubbed Keep Your Metro Open, kicks things off, but basically serves as a bit of a soundcheck as it is performed loosely and Joey Picuri, the sound man, is addressed as well to straighten some of the acoustics out. An animated version of the live staple Song #1 follows suit.

Break-in is up next, and I have to admit that it kind of threw me off since I pretty much expected Burning feeding off Ian’s introductory guitar strokes. It is a solid rendering, even though Guy seems to pace himself vocally a bit more than usual this time around.

Waiting Room is well delivered and, as per usual, gets the crowd going, followed by the still fresh Bulldog Front (this is only the fourth live performance of the song), which I think is very enjoyable and goes down well live.

D.C. affiliate and Fire Party member Amy Pickering then joins the band on vocals for yet another spot-on and boiling version of Suggestion (note that Brendan makes ample use of his bell for this one). Also, if I am not mistaken, this seems to be the first live performance of the song which doesn’t break down with a guitar riff as has been the case up until then, and as such is more in line with the actual studio recording.

A decent yet somewhat inconspicuous rendering of Bad Mouth is followed by two new songs as both Margin Walker and Burning Too were still to be released almost a year later as part of the Margin Walker EP in June 1989. Note how both the rhythm Guy uses to tackle the lyrics and the actual words that make up the lyrics of Margin Walker at this point differ notably from the eventual studio release. Burning Too, on the contrary, is already a pretty much definitive version of the song.

Ian then points out the time of night to let those using the metro know that it might be about time to leave for home. Personally, I would have definitely taken my chances since Ian’s subtle yet familiar guitar licks give away that the band is gearing up to burst into Glueman and it is clear that Guy sheds any restraints or reserves he might have had at this point. And if that’s not enough, the band rolls out some more as The Word is back in its original set closer slot for the occasion, yet is unfortunately incomplete.

The sound quality of the recording pretty much ties in with the quality of the previous show at the dc space on March 30, 1988 (FLS #0017), for which I noted that “the quality of this recording leaves some to be desired as it sounds quite muffled, the vocals especially. It accurately reflects the setting of the former dc space though; a small, crowded club where people huddle up close and small talk gets picked up easily left and right.” In this regard, I probably still prefer the October 16, 1987 (FLS #0005) and December 28, 1987 (FLS #0011) gigs at this venue.

The set list:

Fugazi, Washington, DC USA, 10/16/87 (FLS #0005)

In their book “Dance of Days: Two Decades of Punk in the Nation’s Capital”, Mark Andersen and Mark Jenkins argue that Fugazi, among other things, set out to oppose “punk-as-usual, speaking out against violence and machismo and regenerating the sense of community at shows”. According to the authors, Ian said in 1986 that “when people actively participate, it gives the show a purpose and unity that you don’t see often now.” Through this, Fugazi and its members hoped to “elicit any kind of protest or get people thinking.” These early live recordings definitely serve as a case in point. Note for instance that during this particular show, Ian invites people who want to express musical ideas or who have something to say, to participate in band proceedings, since “there is always room for more.” Guy literally took him up on that, since this recording features Guy on lead vocals for the first time, delivering an ardent version of another addition to the live repertoire, Break-In (the third and final song released as part of the 3 Songs 7” in 1990). Guy did not yet pick up a guitar for these first couple of shows, but does provide backing vocals on most other tracks, and uses what seems to be the tambourine as well on a couple of occasions if I am not mistaken (EDIT: the person playing the tambourine appears to be Ivor Hanson, former drummer of S.O.A., The Faith and Embrace).

Other than that, the Joe #1 instrumental (the first song written by Joe, “pretty fucking ingenious, huh”) opens the show and serves as sound check, before Ian gives the floor to a speaker addressing the Women Take Back the Night initiative (unlike other recordings, the speech itself is not included here). The recording then abruptly continues with Merchandise (note that the opening part of the song is missing), followed by Song #1, relating to “sort of a philosophy that you can attach as much importance you want to anything, yet in the end it’s all nothing so you should take care of each other and never put movements in front of human beings.” The following interlude addresses the issue of the light show (or plea to leave it be), after which a pretty much definite version of the song Bad Mouth is premiered (released as part of the 7 Songs EP in 1988), followed by another live rendering of And The Same (which has been polished some more since its previous performances) with “Big Joe power-pushing the bass line.” As mentioned, Guy then steps up to take on Break-In, and livens up Waiting Room as well with some more backing vocals. A crushing yet invigorating performance of the traditional set closer (at this point) The Word blows the roof off, as Ian seizes another opportunity to fuel the communal fire, urging those present “to break down any fucking walls between the band and the crowd tonight”, to “please raise your voice, and join in.” As to the sound quality, I think that even though the mix suffers a few irregularities, it is still very much enjoyable overall.

The set list: